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Cele’ 
ete AB) 





GIRL PLAYING GUITAR 


THE 


MESTROVIC 
: EXHIBITION 


INTRODUCTION AND CATALOGUE 
By 


CHRISTIAN BRINTON 





THE BROOKLYN MUSEUM 
1924 


CoPpyRIGHT, 1924, BY CHRISTIAN BRINTON 





GIRL PLAYING GUITAR 


INTRODUCTION 
By CHRIstiIAN BRINTON 


Rien ne s improvise, rien ne s’invente; Vart, comme la 
société, comme toute la vie est une continwite. 


HAT imperishable content of passion and aspiration 

which assumes articulate form in Attic mythology, in 
the mystic appeal of Arthurian legend, and the chanson of 
Troubadour finds fitting counterpart in the pesmas, or Hero 
Songs of the Jugoslavs. Instinct with power, pathos, and 
imagination this popular poetry, which has come down by 
word of mouth from generation to generation, epitomises 
the soul of the Southern Slav. For centuries it has preserved 
intact the race consciousness of a people whose fortitude 
both spiritual and physical has been rare in human history. 
Centring around the clash between Christianity and Mo- 
hammedanism, it voices itself with particular eloquence 
and poignancy in the Lay of Kosovo, which occupies right- 
ful place as the national epic. 

It was on Kosovo Polje, the Balkan Flodden Field, 
where the Panslavic aspirations of Car Stevan and his suc- 
cessors were shattered by the ruthless onrush of Osmanli 
horde. Here, where to-day flower countless scarlet flash- 
ing peonies, the earth was once “‘like unto a tulip field, with 
its ruddy severed heads and rolling turbans.” Still, though 


lost in a military sense, the fateful day became, through a 
process of spiritual transmutation, a day of triumph for 
the broken and distraught nation. The bruised soul of the 
people in due time rose to radiant heights of renunciation. 
“Vidov-Dan”’ grew to be regarded as a chastisement, as the 
dolorous calvary leading toward a more worthy and endur- 
ing racial destiny. And from village to village, from door 
to door throughout the land wandered the blind Guslar 
chanting in haunting, trochaic measure the “‘glorious de- 
feat’’—celebrating the mighty deeds of Kraljevic Marko, 
the gleaming gallantry of Milos Obilic, and Vuk Brankovie’s 
dark treachery. The memory fabric of the entire nation 
focussed around these hero tales of an ever-present past. 
They became, and continue, the dominant factor in the 
quickening imagination of every Jugoslavy child. 

Yet while the legend of Car Lazar, who chose heavenly 
to earthly triumph, the poignant lament of the Mother of 
the Jugovici, and such epic figures as “‘the beautiful’? Bano- 
vic Strahinja,; and the truculent Frowning Srgj, constitute 
so vivid and living a national heritage, no attempt was 
made during close upon five centuries to give these concepts 
other than oral or written appeal. It remained for a youth 
of our own day to divine the artistic possibilities of this 
incomparable legacy, and to achieve its expression in wood 
and marble, in clay and bronze. It has in brief been the 
mission of this veritable David of scuplture to effect a bold 
and convincing transposition of native poetry into plastic 
form, to endow with visible and material semblance that 
same heroic soul song which, though essentially Jugoslavic, 
is universal in application. 


Descended from the redoubtable haiduk chieftains who 
for generations harassed the Turks along the borderland, 
Ivan MeStrovic was born August 15, 1883 in the little 
hamlet of Vrpolje in Slavonia. The family, which was 
of Croatian peasant stock, had but lately come from Dal- 
matia, and shortly following the birth of their son returned 
to the original home at Otavice, near Drnis. It was here, 
flanked on one side by a succession of rugged foothills, and 
on the other by the soaring Dinaric Alps, that the future 
sculptor passed his childhood. His father, Mate, and _ his 
mother, Marta Kurabasa, were simple peasants, and like 
every peasant lad of the district, Ivan tended the flocks by 
day and at night harkened to fireside tale and ballad teem- 
ing with a poetic fantasy that favourably compares with 
the Hebrew songs and the sonorous periods of Homer. The 
very soil he trod was eloquent of historic and cultural mem- 
ories, marked as it was by ruined monastry and the palace 
of ancient Croatian king and prince. 

The artistic career of Ivan MeStrovie began in typically 
modest fashion when, with rude curved peasant knife, he 
commenced carving wooden spoons, forks, and kindred 
domestic utensils for daily family use. During his forma- 
tive period his father, a remarkably gifted native craftsman, 
guided his early efforts. Much encouragement was like- 
wise derived from the village priest, Fra Marko Cacie, for 
whose humble parish church he fashioned his first crucifix, 
the forerunner of his many versions of the Man of Sorrows. 

In the Golden Book of Ivan Mestrovic’s memory are 
inscribed a few significant episodes, a few outstanding 
names. Amongst the former are sunny days spent on stony 


upland pasture when, in his germinating fancy, the legends 
of his people spontaneously assumed plastic form. There 
were also solitary nights in front of the thatched cottage 
home where he would gaze for hours at the silent mountains 
rearing their star-crowned crests toward infinity. Such 
was his true vigil, the prelude to the unfolding of his genius. 
And, too, one must not forget the boyish ecstasy of a visit 
to Sibenik, where he beheld his first cathedral with its carved 
saints and gleaming altar and, beyond, the bright bosom 
of the sea. 

The lad meanwhile worked unremittingly at his art, 
carving and modelling a variety of subjects including local 
peasant types, cattle, and crucifixes in wood or stone. 
When but thirteen his father sent several of these to the 
office of Narodni List at Zadar, the editor, Don Juraj Biankini, 
kindly placing them on informal exhibition where they 
attracted much favourable notice. At this period there 
appeared in Drnis a certain Captain Grubisié, who dis- 
played immediate interest in the boy, and undertook to 
raise funds for his education. Money was however scarce 
in this humble peasant community, so the future artist 
was eventually taken to Split where his father apprenticed 
him to a marble cutter named Bilinic. 

Clad in native dress, including red Croatian kapa, 
the eager, brown-haired lad passed his days producing 
angels, crucifixes, and altar ornaments for various local 
churches. The nights he spent absorbing his elementary 
schooling from the district teacher, Skarcia, in whose do- 
mestic circle he found lodging. Scorning drudgery and 
privation of every description, he worked manfully on for 


a year or so until, through the offices of a friendly though 
speculative Hebrew named Konig, he was enabled to pur- 
sue his studies in Vienna. Provincial costume he shortly 
discarded for the corduroys and capacious soft hat of the 
typical art student, and sharing humble quarters with young 
Sykora, a Czech companion as impecunious as himself, he 
began life in the Austrian capitol. 

The barrier of unfamiliar language, the lack of formal 
preparation, and the constant pinch of poverty, not wholly 
mitigated by a meagre bursary from the municipal council 
of Drnis, could not however dishearten a youth whose 
creative fancy was already aflame with dreams of native 
hero myth. At first refused admittance to the Akademie 
der bildenden Kiinste, he finally entered the classes of 
Professor Hellmer, later studying with Professoren Bitter- 
lich and Ohmann. Four years in all—1900 to 1904—were 
passed at the Akademie, the not invariably tractable 
Schuler meanwhile occupying a studio just off the Prater, 
and spending the summer months in the free atmosphere 
of his beloved Otavice. 

It is to the lasting credit of Ivan MeStrovié that he did 
not sacrifice that singleness of aim, that integrity of spirit, 
which eventually made him and his art the typical vehicle 
of national Jugoslav aspiration. Neither the prestige of a 
sterile and decadent classicism, nor the specious attrac- 
tions of L’Art nouveau deflected him from his appointed 
pathway. From the outset his work was a completely 
personal and racial expression. It was so much so that 
more than one preceptor, on glancing at his studies, wisely 
permitted him to pursue his development undisturbed. Nor 


could it well have been otherwise. The soul of the young 
artist, rebelling at scholastic formulae, harked backward 
across the centuries to the shining dream of ancient king, 
a dream eloquently evoked in his own time by the great 
liberal bishop, Strossmayer, whose watchword was the 
spiritual and political unity of the Southern Slav people. 

Following his ’prentice days, the artistic odyssey of 
Ivan Mestrovic included a brief trip to Italy. This was 
followed by a couple of year’s sojourn in Paris, where he 
made successful appearances at the Société Nationale and 
the Salon d’Automne, incidentally attracting the enthusi- 
astic notice of his great compeer Auguste Rodin. It was 
however at Vienna and Zagreb, during 1910, where he 
revealed the full measure of his power, and affirmed his 
true aesthetic physiognomy. The years of lean and arduous 
struggle in the little Viennese workshop in Valeriestrasse, 
and in his Paris studio in the Impasse du Maine, where his 
time was mainly devoted to modelling fragments for his 
Temple of Kosovo, had borne their fruit. He had _ be- 
come a distinctive personality, backed by recognition 
accorded him in both Paris and Vienna, where he had ex- 
hibited at the exclusive and progressive Secession as early 
as 1902. 

Into the nationalist artistic movement, which was 
largely his own creation, and which centred in the Croatian 
capital, Ivan Mestrovic poured all the ardency of his spirit. 
Round him rallied his fellow-craftsman Rosandi¢, the 
decorative painter Racki, the draughtsman Krizman, and 
a number of others including Emanuel Vidovic, the talented 
Slovak Joza Uprka, the young sculptor Dujan Peni¢, and 


the brilliant architect Josip Plecnik. Their avowed pro- 
gramme was the fostering of a strictly autonomous art, in 
furtherance of which aim they banded themselves into a 
sympathetic and homogeneous group. This they appro- 
priately christened the Hrvatsko Umjetnicko Drustvo 
Medulic, after the Venetian master I] Schiavone, who was 
in reality a Croat, Andrija Medulic. Meeting almost daily 
in the Kavana Medulic, and ably supported in the press 
by the gifted litterateur and dramatic author Count Ivo 
Vojnovic, their first public display, held in the Umjetnicki 
Pyiljon, Zrinjski Trg, during September and October, 
1910, proved an event of unquestioned significance both 
ethnic and aesthetic. 

Forty artists in all were included, and rarely has an ex- 
hibition betrayed such urgency of purpose, such eloquent 
striving for a typically national art expression, as was 
manifest in the offering of these same Jugoslavs. Their 
leader and fugelman was fittingly represented, the whole 
affair proving an auspicious foretaste of that greater glory 
which awaited him the ensuing season in Rome. He had 
passed beyond his purgatorium. The period of initial 
struggle was at an end, and the subsequent developments 
of his art and personality belong to the world at large. 

No one fortunate enough to visit the Esposizione Inter- 
nazionale di Roma during 1911 can forget the stark power 
of the Serbian Pavilion, designed by the architect Professor 
Petar Bajalovic, and the tumultuous impression made by 
its sphinx-guarded contents, the work of the young sculp- 
tor, Ivan MeStrovic. In the masterfully modelled forms 
that flanked entranceway and filled atrium and exhibition 


hall were visualized the age-old sorrows and aspirations of 
a martyred, yet indomitable race. The effect was at once 
that of a creation and a resurrection. For Car Stevan had 
in truth come into his kingdom, and Kraljevie Marko with 
his piebald Sarac had in verity forsaken their cavern on the 
Vardar to fight and win fresh battles. 

The significance of Ivan Mestrovic’s contribution to 
contemporary art was manifest at a glance. He had almost 
single-handed revived the waning destiny of plastic en- 
deavour. He had restored sculpture to its proudest pro- 
vince—the mood imperishably perpetuated in the Panathen- 
ac Procession and the Pergamum Frieze, the sovereign 
prototypes of his own still fragmentary concepts. And yet 
his world, which revolved mainly around the projected 
Temple of Kosovo, was not wholly peopled by the hero gods 
of this Jugoslav Valhalla. For beside the figures of Marko 
and Milos’, beside mourning widow, ministering maiden, 
and caryatid of Ninivan immobility were seen his father, 
the peasant shepherd Mate, in native peskir, and his mother 
Marta, her work-weary hands clasped in patient resigna- 
tion. The dominant feature of this work, whatever its 
‘theme or subject, was a primal virility of impression, a force- 
ful authenticity of vision and statement. The art of Me’- 
trovic is in no sense a vitiated, self-conscious echo of classic 
tradition. Like himself, it springs direct from rock-ribbed 
Dalmatia, though softened betimes by the gentle ambience 
of the Spalatan Riviera, and the sonorous, mystic liturgy 
of its Old Slavonic churches. 

Despite his sudden hour of glory, the sculptor lived 
quietly in Rome. He scarcely left his modest apartment 


in the Babuino save to repair to his studio in the Via Flam- 
mina, just beyond the Piazza del Popolo. Aside from his 
countrymen, his closest friends included the critic Vittorio 
Pica, the Spanish painter Anglada y Camarasa, and the 
three Americans who are to-day so congenially associated 
in the current exhibition. It was in fact in Rome that plans 
were first made to bring Mestrovie and his sculpture to 
these shores. Yet this project had perforce to wait until 
the world had regained some of that lost ideality which 
seemed to achieve its finest flowering on the slopes of the 
Valle Julia. 

The two master motifs of Ivan MeStrovié’s creative 
activity are the national and the religious. And just as his 
powerfully conceived and executed hero cycle typifies the 
former phase of his effort, so in the latter does his spiritual 
vearning find appropriate expression. Following the second 
ruthless crucifixion of his race, which reached its climax 
in the Great Retreat of the Serbian army through Albania 
and Montenegro to the coast, the sculptor turned to the 
consolation of Christian mysticism. In enforced exile at 
Rome, Geneva, Cannes, and elsewhere he carved and 
modelled in poignant ecstasy the image of Christ on the 
Cross, the Deposition, the Pieta, and kindred episodes that 
to him eternally symbolize mortal sorrow and_ sacrifice. 
Most of them are carved out of wood—walnut wood— 
which, through the irony of fate, he could only obtain from 
busy gun factory. 

It was certain of these subjects, together with numerous 
examples of his earlier work that comprised the second notable 
offering of Mestrovic to the world. This was imposing exhibi- 


tion seen at the Victoria and Albert Museum, South Ken- 
sington, during the summer of 1915. Making due allowance 
for the stimulus of wartime psychology, the event proved 
a revelation to the British public. Critics such as Mr. 
James Bone, and friends such as Sir John Lavery, who had 
witnessed his triumph in Rome, were more enthusiastic than 
ever. And in the Livre d’Or of the artist’s grateful appre- 
ciation were inscribed the names of Dr. R. W. Seton-Wat- 
son, through whose valiant efforts the collection was brought 
to London, and of Mr. Ernest H. R. Collings, the sculp- 
tor’s indefatigable bibliographer. They in truth merit their 
place beside those of ex-Captain Grubisic, the massive priest 
Fra Marko Cacié, and the Croatian deputy and editor, 
Don Juraj Biankini of Zadar. 

Of Ivan Mestrovie’s activities since the war, the present 
exhibition is as fully representative as it was possible to 
make it. The heroic statue of Bishop Strossmayer for the 
city of Zagreb is not on view, nor, save in the mind’s eye, 
is the beautiful Chapel of the Madonna of the Angels re- 
cently completed at Cavtat. Looking across the azure 
Adriatic near Dubrovnik, this memorial to the Racic family 
-1is wholly the creation of the artist. Its architecture, its 
sculptured saints and angels, and its exterior and interior 
decorative features constitute an achievement unique 
since the days of mediaeval or renaissance builder and crafts- 
man. It is in this connexion significant to note that, al- 
though the Temple of Kosovo of his youthful dreams still 
remains an unrealized possibility, this gleaming chapel has 
in a sense become his “‘Visioned Temple,” typifying not 
that which is militant and physical, but that which is alone 


of the spirit. For the rest, the current display is replete 
with interest and variety. More comprehensive than any 
previous presentation of the artist’s work, its chief appeal 
does not however fall within the sphere of his heroic national 
epopee. It emphasises that which has been achieved dur- 
ing more recent phases of development. And while in- 
cluding certain of his noblest attainments in the field of 
religious composition, it suggests still further plastic con- 
quests. 

In confronting the work of Ivan MeSstrovié you should 
first of all realize that in spirit and form it is largely pre- 
Greek—that, like most Slavic art, it reflects influences less 
Attic than Asiatic. Gentle souls whose taste has been 
emasculated by too persistent classic contact, who de- 
precate the virile and forceful wherever in evidence, will 
doubtless gaze askance at the sheer physical vehemence of 
these heroes, the spiritual and bodily agony of these twisted, 
attenuated Christs. Yet it has everywhere and at all times 
been the mission of the Slavic artist to shatter the bonds of 
convention and achieve free emotional utterance. 

This was the way of the daring fantast who fashioned 
Vasili Blazhennyi and had his eyes put out for so doing. 
It was likewise the way of the tortured soul who penned the 
pages of Crime and Punishment and the Brothers Kamar- 
asov. Moreover, it is to-day the method of Fyodr Shalyapin 
in Boris Godunov, and of Ivan Mestrovic in his statues and 
reliefs. Form, with such artists, never dominates feeling, 
but remains its obedient servant. You have here the dif- 
ference between creation and convention, also between the 
mystic, enigmatic East, and the rigid, rationalistic West. 





Owing to the ban placed upon plastic representation 
not alone by Islam, but by the Orthodox Church as well, 
the young sculptor had no accepted tradition, no dull 
academic formalism to hamper his development. His 
spirit wandered at will across the ages, but chiefly back- 
ward toward the broad, structural unity typical of Thebes 
and Chaldea. This art pays passing tribute to Donatello 
and Rodin, likewise to the unquiet surfaces of Emile Bourdelle. 
yet its appeal is in the main primitive and archaistic. It sug- 
gests the primal simplification practised by anonymous 
Egyptian and Assyrian rather than the stressful terribilita of 
Michelangelo, or the smooth insipidity of our latter-day 
Gallo-Greeks. 

And similarly, it is not to Gothic inspiration that the 
artist has turned in order to depict the deep and dolorous 
anguish of the Man of Sorrows. There is less of Christian 
abjuration in these wood and plaster crucifixes than the 
hieratic ecstasy of the early Byzantines. Here, as else- 
where, feeling maintains ascendancy over form. And, too, 
how completely does the artist comprehend the hidden magic 
of the material in which he works. The child of stony 
mountain district, he spontaneously divines the possibilities 
of marble or granite. A born wood carver, he follows the 
grain of oak or walnut with instinctive feeling, ribbed and 
serrated tool marks adding their suggestion of atmospheric 
vibration behind bowed head, or hands that rise toward 
heaven like flickering flame points. 

The position occupied by Ivan Mestrovic in contempo- — 
rary art is midway between the conservatives and the rest- 
less, questing radicals. It is, relatively speaking, the posi- 


tion maintained by the Frenchman Maillol, and the Anglo- 
American Jacob Epstein. With the Jugoslav artist sim- 
plicity of line and mass is not pushed so far as is the case 
with Archipenko, Boccioni, or Lipschitz. The work of 
Mestrovic remains well within the province of readily rec- 
ognized theme and subject. Simple motifs, heroic, relig- 
ious, and contemplative, dictate their special forms and 
media to an art that has won its place in the plastic proces- 
sion of the ages, an art at once noble and vehement, ardently 
nationalistic yet possessing a broad and sincere universality 
of appeal. 

You will have scant difficulty discovering, in the current 
generous offering, the aesthetic personality of Ivan Mes- 
trovic. From the colossal plaster figure of the Old Croatian 
poet Marko Marulic to the most delicately wrought bust or 
relief, the man is wholly and unflinchingly himself. His 
artistic cosmos is, as we have noted, a terrain of big, vitally 
treated forms, and simple, basic ideas. And, through his 
virile achievement, assume visible semblance concepts that 
are the legacy of the world at large. 

Instinct with the spirit of true artistic generalization, 
these types have for the most part passed out of the realm 
of individual and objective representation into the domain 
of idealized struggle and longing that endures forever. 
Hebrew Samson, Attic Herakles, Siegfried, or mighty 
Marko, the Strong Man of mortal fancy endeavours, through- 
out the ages, to deliver us from the oppressor, and the Man 
of Sorrows to console in the hour of defeat and distress. 
Like his country, ancient Slavonia, Mestrovic is a product 
of divers influences. Born midway between Byzantium and 





Rome, he partakes of both cultural currents. His art 
epitomises in plastic form the two dominant factors in the 
history of humanity—the ego and the nego—the will to 
achieve and the will to accept. He is at once a Pagan 
fashioner of heroic figures from the Twilight of the Gods, 
and a profound Christian mystic. 

Kosovo, the fateful “Field of the Blackbirds,” having 
been amply avenged by the armies of Petar Karagjorg- 
jevic at Kumanovo and Monstair, and century-long dreams 
of racial autonomy realized by the proclamation of Jugoslav 
unity by the Croatian Sabor at Zagreb in 1918, the nationalist 
and religious inspirations of the artist have lately become 
less fervid and insistent.Slowly but surely he is drifting toward 
that province of abstract ideas and impressions wherein crea- 
tive aspiration, if sufficiently clear and confident, finds its 
own particular vehicle. The sensitive, rhythmic grace of his 
musical fantasias, and such figures as the recently completed 
Contemplation, point the pathway toward a freer plastic 
interpretation, toward a broader, deeper spiritual vision. 

Ivan Mestrovic is a completely equipped craftsman, 
working with equal facility in any given medium. His 
future as an artist hence depends upon the depth and in- 
tensity of his emotional responses. It depends upon his 
response to the appeal of mere fact, which is the portion of 
the earthly — his response to the winged urge of fancy and 
imagination, which is the sign and token of divinity. 


CAT ALO.G UE 





MEDULIC 





Or 


CATALOGUE 


HEROIC 


THE TEMPLE OF KOSOVO 
Property of the Jugoslav Government 


Wood model, 1907—1912 


The Temple of Kosovo memorializes the great battle 
fought on the plain of Kosovo, June 28, 1389. It is likewise 
an attempt to give a synthesis of the national Jugoslav Idea, 
to symbolize, in architecture and sculpture, the coun- 
try’s tragic souvenirs of the past and high hopes for the 
future. The design first took definite shape in the artist’s 


mind at Beograd in 1907-8. 


THE WIDOWS 
Property of the Jugoslav Government 


WIDOW 
Property of the Jugoslav Government 


WIDOW AND CHILD 
Property of the Jugoslav Government 


THE MAIDEN OF KOSOVO 
Property of the Jugoslav Government 


WARRIOR 
HEAD OF THE VICTOR 


KOSOVO MEDAL J, II 


Marble growp, 1908 


Marble statue, 1908 


Marble group, 1908 


Marble relief, 1908 


Plaster relief, 1911 


Bronze study, 1913 


Plaster, 1913 


RELIGIOUS 


ECCE HOMO Wood head, 1911 
PIETA I Bronze relief, 1913 
PIETA II Bronze relief, 1913 
HEAD OF CHRIST Bronze, 1913 
CHRIST AND THE WOMAN OF SAMARIA Plaster, 1913 


HEAD OF ST. JOHN THE BAPTIST Plaster, 1914 
MADONNA AND CHILD Plaster statuette, 1914 
THE CRUCIFIXION Plaster, 1914 
STUDY FOR ST. MATTHEW Plaster, 1915 


STUDY FOR ST. JOHN THE EVANGELIST Plaster, 1915 


STUDY FOR PIETA Plaster, 1915 
S Parikh Bronze statuette, 1916 
STUDY FOR STATUE OF MOSES Plaster, 1916 
THE HAPPY ANGELS Wood relief, 1916 


THE UNHAPPY ANGELS W ood relief, 1916 


24 


25 


26 


27 


28 


29 


30 


31 


32 


33 


34 


35 


36 


37 


38 


39 


CHRIST AND THE MAGDALEN 
CHRIST ON THE CROSS 
MADONNA AND CHILD 
MADONNA AND CHILD | 
MADONNA AND CHILD 


TEMPTATION 


CHRIST AND THE MERCHANTS 


THE DEPOSITION 
HEAD OF ANGEL 

HEAD OF MOSES 

ANGEL WITH FLUTE 
MADONNA 

THE ARCHANGEL GABRIEL 
MAGDALEN AT THE CROSS: 
MADONNA WITH ANGELS 


MADONNA AND CHILD 


Wood relief, 1916 
Wood, 1916 

Plaster bust, 1917 
Plaster statue, 1917 
Bronze free relief, 1917 
W ood relief, 1917 


Wood relief, 1917 


Unfinished wood relref, 1917 


Plaster, 1917 


Marble, 1918 


Plaster, 1918 


W ood relief, 1918 


Marble relief, 1918 


Marble relief, 1918 


Wood relief, 1920 


Wood statue, 1920 


40 


41 


42 


43 


$4 


45 


46 


AT 


48 


49 


50 


51 


52 


53 


-ANGELS, DIPTYCH 


ANGEL 


ST. ROCCKUS 


CHRIST ON THE CROSS 


THE ENTOMBMENT 


“STUDY FOR APOSTLE 


PORTRAITS 


HEAD OF AN OLD MAN 
HEAD OF AN OLD MAN 
HEAD OF WOMAN 
HEAD OF WOMAN 


MY WIFE 
Property of the Jugoslav Government 


THE ARTIST’S MOTHER 


MY MOTHER 
Property of the Jugoslav Government 


THE ARTIST’S FATHER 
Property of the Jugoslav Government 


Plaster relief, 1922 
Plaster relief, 1922 
Plaster relief, 1922 
Plaster relief, 1922 


Plaster relief, 1922 


Plaster free relief, 1923 


Bronze, 1906 


Red marble, 1906 


Marble, 1907 


Black marble, 1908 


Marble bust, 1908 


Bronze, 1908 


Marble, 1908 


Bronze, 1910 


54 


55 


56 


57 


58 


59 


60 


61 


62 


63 


64 


65 


66 


67 


68 


THE ARTIST elaster 1912 


WOMAN WITHOUT ARMS Bronze, 1914 
THE ARTIST’S WIFE Bronze statuette, 19165 
MADAME GANDARILLAS Plaster, 1915 
MISS ST. GEORGE | Plaster, 1915 
MRS. B. Bronze statuette, 1916 
RUZA MESTROVIC Plaster, 1916 
STUDY OF WOMAN Plaster, 1918 
KING FEISAL Bronze, 1919 


Lent by the Honorable Charles R. Crane. 


MOTHER AND CHILD Bronze, 1922 
Lent by Mrs. Rufus F. Zoybaum, Jr. 
PRESIDENT MASARYK Bronze, 19238 


Lent by the Honorable Charles R. Crane. 


MISS ALICE MASARYK Bronze, 1923 
Lent by the Honorable Charles R. Crane. 


WOMAN READING Plaster statue, 1923 
BISHOP STROSSMAYER Plaster bust, 1923 


HEAD OF NUN Plaster, 1924 


VARIOUS 


LAOKOON OF TO-DAY 
VASE 

INNOCENTIA 
MEMORIES 

FEMALE FIGURE 
DANCER 

FEMALE HEAD 
WOMAN LOOKING UPWARD 
DANCER 

SALOME 

GIRL 

BOY 

WOMAN 

AUGUSTE RODIN 


DECORATIVE FIGURE 


Bronze group, 1906 
Plaster, 906 

Marble statue, 1907 
Plaster statue, 1907 
Plaster statuette, 1908 
Marble relief, 1911 
Plaster, 1912 

Plaster statuette, 1912 
Marble relief, 1912 
Plaster relief, 1913 
Wood relief, 1914 
Wood relief, 1914 
Bronze statuette, 1914 
Plaster statuette, 1914 


Bronze statuette, 1914 


96 


SEATED WINGED FIGURE 


WOMAN WITH ARM ON KNEE 


STUDY FOR VESTAL VIRGIN 


MAN THINKING 


VESTAL VIRGIN 


GIRL AT PRAYER 


GIRL PLAYING GUITAR 


GIRL PLAYING GUITAR 


GIRL PLAYING GUITAR 


DISTANT CHORDS 


GIRL WITH VIOLIN 


WOMAN PLAYING GUITAR 


WOMAN 


GIRL DRESSING HER HAIR 


CARYATID 


AMOR AND PSYCHE 


Plaster statuette, 1914 
Plaster statuette, 1914 
Plaster statuette, 1915 
Plaster statuette, 1916 
Bronze statue, 1917 
Bronze bust, 1917 

W ood relief, 1917 
Bronze free relief, 1918 
Bronze relief, 1918 
Bronze statue, 1918 
Plaster free relief, 1918 
Bronze free relief, 1918 
Bronze statuette, 1918 
W ood relref, 1918 
Wood statue, 1918 


Marble relief, 1918 


100 MOTHER AND CHILD Plaster free relief, 1918 
101 GIRL WITH VIOLIN Marble relief, 1922 
102 MOTHER AND CHILD Marble relief, 1922 
1038 CONTEMPLATION Marble statue, 1923 
104. STUDY OF WOMAN Plaster statue, 1924 
105 WOMAN LOOKING AT HANDS Plaster statuette, 1924 
106 MARKO MARULIC, OLD CROATIAN POET Plaster, 1924 
LITHOGRAPHS 
107-128 
DESIGNS FOR MAUSOLEUM 

These designs are for the projected mausoleum of Petar 

Petrovic NjegoS (Vladika Petar, 1811-51), Prince Bishop 

and national poet of Montenegro, author of The Garland 

from the Mountains (1847). The mausoleum will be erected 

on the summit of Mount Lovéen. 
129 GENERAL VIEW Line and wash, 1924 
130 CENTRAL SECTION Line and wash, 1924 
131 LONGITUDINAL SECTION Line and wash, 1924 
132 FLOOR PLAN Line and wash, 1924 


ILLUSTRATIONS 





MESTROVIC 








GIRL WITH VIOLIN 








THE ARCHANGEL GABRIEL 





MOTHER AND CHILD 








CHRIST AND THE MERCHANT 





ANGELS 


ND 


\ 


2 


A 
is 


\DONN 


M 








ANGEL WITH FLUTE 





MOTHER AND CHILD 





MADONNA AND CHILD 





GIRL AT PRAYER 





THE DEPOSITION 


REEL 
. wc eee 
Sif i 


pee iD 
iti iggse® 


CHRIST AND THE MAGDALEN 








CONTEMPLATION 





MAGDALEN AT THE CROSS 





MADONNA AND CHILD 





CHRIST ON THE CROSS 





THE 


MAIDEN OF KOSOVO 








THE WIDOWS 





NCER 


DA 





MEMORIES 





DISTANT CHORDS 





ID 


CARYAT 





MOR AND PSYCHE 


A 





CHRIST AND THE WOMAN OF SAMARIA 





STUDY FOR APOSTLE 





MARKO MARULIC, OLD CROATIAN POET 








HEAD OF ST. JOHN THE BAPTIST 





MADONNA AND CHILD 





MADONNA AND CHILD 





MADAME RUZA MESTROVIC 





ANGELS 





TEMPTATION 





WOMAN READING 








MISS ST. GEORGE 


PUBLISHED BY THE MESTROVIC EXHIBITION COM- 

MITTEE. FIRST IMPRESSION, 7000 COPIES, NOVEM- 

BER, 1924. DESIGNED AND PRINTED BY CURRIER AND 
HARFORD, LIMITED, NEW YORK CITY, U.S. A. 











